Essays on the Performing Arts
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On the West Coast, a Distinguished Company Avoids Showing Any Gray
Members of San Francisco Ballet in Mark Morris’s Drink to Me Only. Photograph: Erik Tomasson.
Design Meets Dance, and Rules Are Broken
Part of Robert Rauschenberg’s set for Merce Cunningham’s Minutiae.
Steps That Outshine Big City’s Bright Lights
Ashley Bouder and Jonathan Stafford in George Balanchine’s “Tschaikovsky Piano Concerto no 2”. Photograph: Paul Kolnik.
The Bolshoi’s Whiz Kids on Display in London
The Bolshoi female corps de ballet in the Shades scene of La Bayadère. Photograph: Dee Conway.
Let Young Waste Youth; Baryshnikov Doesn’t Need It
Mikhail Baryshnikov and colleagues rehearsing Aszure Barton’s Come In. Photograph: Andrea Mohin.
A Slow, Winding Descent Through a Hallucinatory World Befogged by Opium
The Kirov corps de ballet of Shades in La Bayadère at the Kennedy Center, Washington. Photograph: Linda Spillers.
Then, With a Touch of Now, and a Fully Charged Prodigal Son
Damian Woetzel in the title role of George Balanchine’s ballet The Prodigal Son. Photograph: Paul Kolnik.
Swinging Into Comedy (and Along With Sinatra)
Jeffrey Golladay, Maria Riccetto, Kristi Boone, and others In American Ballet Theatre production of Twyla Tharp’s “Baker’s Dozen”. Photograph: Andrea Mohin
The Dance of the Final Bow
Darcey Bussell as Manon (Kenneth MacMillan). Photograph: Johan Persson.
Legends of Life and Art, Stravinsky and Balanchine
Yvonne Borree, Ashley Bouder, Megan Fairchild, with Nikolaj Hübbe as the muses and Apollo in George Balanchine’s Apollo. Photograph: Paul Kolnik.